there is no fashion before modernity only luxury

AngloMania., informed by scholarship but delivered via the styling

and media devices of the twenty-first century, indicates the competing

demands of fashioti delivered in the academy, the marketplace, and the

museum. Fashion Theory has attempted since its publication to address

wider audiences and consider the interrelated role of tbese sectors

including contemporary designers and designing. This, rather than the

ideological positions tbat have been alluded to in other costume journals,

is its defining position. The Fashion Theory tide was clearly polemical

and designed to sbock the complacency and hostility of academies that

refused tn countenance tbe study of fasbion, or to render it a Cinderella

“We’re Not in the Fashion Business”: Fashion in the Museum and the Academy

of papular culture studies. It also occurred at a point of a type of lift off

for tbe field, wben a generation wbo had trained in courses such as the

Courtauld MA or who bad pursued anthropology and popular culture

in the 1960s and 1970s were mature, confident in their often difficult

workplaces, and publishing monographs. It also coincided witb the

expiosion of interest in lifestyle, museum going, and fasbion as a part

of late-rwentietb-century commodity culture. Altbougb the editor and

advisory board have never suggested tbat there is such a thing as ” fashion

theory” (as tbere is feminist theory, or queer tbeory), tbe title and tbe

approach of the contributors have tended to point toward a creative

amalgam and bricolage¡ªmaybe even a patching or a cobbling  to

push forward the field.

Ten years on, with Berg announcing a boxed set

and re-issue of Fashion Theory¡ªhopefully not like boxed music from

the 1980s¡ªtbere remains a remarkable divergence of positions witbin

this journal. Although its editor has taken a particular stance elsewbere

on particular problems¡ªsucb as wbetber tbere is “fasbion” in early

Asia¡ªthis problem and many otber pressing issues are not yet resolved.

There remains so much basic debate to take place about fashion.

The dress and costume versus fashion debate is particularly germane,

as dress is generally specific and regional, whereas fashion implies a

template that often is generated elsewhere. Scholars at Stockholm’s

Fasbion conference such as Barbara Vinken argued that there is no

fashion before modernity only luxury. Modernity is a term not used

by economic historians, so does that mean they are excluded from the

study of fashion? Let us bope tbat fashion studies does not become a

type of internal sniper’s activity nor an entente cordiale. Fashion studies

is ideally placed to capitalize on the enortnous popular media interest

in dress, lifestyle, and fasbion, most of which is marketing led and

unreflective. It is an opportunity to influence public intellectual life.

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